Page 40 - Studio International - May 1969
P. 40

a much more fairground attitude. The ques-
     tion is how do you take the risk and not fall
     into just entertainment?
      LIJN: I think that myself I might take it quite
     seriously as a research and yet it might appear
      to somebody else to be very entertaining.
      LINDSAY: Yes, but that's just being very single
     about it. What I am referring to is the way the
     artist is used by the art world. I would say
      that the art world often only uses your type of
     artist because he entertains the public.
      LIJN: I think it is almost better that they take it
     lightly and the people who really count will
     take it in the right way. If the public takes it
     too seriously, then we are likely to create an
     academy. Certain groups feel that kinetic art
     is  the  art and that nothing else counts, but
     that's creating a new traditional art—a new


























     academy. I like the contradiction of being   LINDSAY: But inspiration is influence. Or isn't it?   knows about. I mean the inner world of our
     serious and at the same time laughing at one-  Lux: Well, it's such a vague kind of influence.   bodies, the inner world of materials, the
     self.                                      For example, when I started I was neither   minute sub-atomic world of reality—in which
     LINDSAY: Who would you say are your direct   inspired nor influenced by Mondrian. I'm   I think there are a great many spiritual secrets
     masters ?                                  now  inspired and influenced by Mondrian,   to be found. And in the outer world, of outer
     LIJN: Through the history of art there have   but only since about three to four years.   space, of planets and of planetary forces, of
     been many epochs in which there were great   LINDSAY:  Why? Because your work has    solar systems and galaxies, also there are a
     masters, whether they have names or not—   changed ?                                 great many spiritual secrets to be found, and
      Egyptian art, Ancient Greek art, a great deal   LIJN: Well, I think my work has evolved and   I believe that they mix. Once you know more
      of Indian art, a great deal of Chinese art and   I think also that I have become a great deal   about the outer and about the inner, or about
      then, coming back into—I'm not terribly   more conscious of the things that can inspire   the small and the large, you find out how
      excited about the Renaissance but I was   me and that influence me.                 similar they are.
      excited about Byzantine art—I would say   LINDSAY:  You are conscious of these?     LINDSAY: I think that your big water discs will
      Bosch                                     LIJN: For example, Mondrian—what I mean   really have their true effect when the whole of
      LINDSAY:  What I asked you was who were   by the inspiration I have from Mondrian is   present education changes.
      your direct masters.                      not necessarily his painting but the thought   LIJN: In what way `changes'?
      LIJN: There's nature first and then there are   behind it, the philosophy behind it, the purity   LINDSAY:  Changes because at the moment
      the artists whom I love the most. Artists like   of this thought. It comes out from his paint-  people's minds are not equipped to take in the
      Mondrian or Malevich.                     ing. Above all, I'm interested in the spirit of   vibrations of outer space— they will have to pre-
      LINDSAY:  When you say you love the most,   purity in Mondrian's paintings.         pare for it with quite a different mental
     would you say that they really influence you ?   LINDSAY :  Would you say that your experi-  attitude. To me it is artists like you that are
      Because one often loves things and admires   ment is connected with the cosmological   ahead of your time in that very relation. Tell
      things that don't influence one.          world ?                                   me a little about your creative processes
      LIJN: Well, I don't think I have been in-  LIJN: That's the part that excites me the most   through which you go to achieve the final
      fluenced to such a great degree by other artists'   —and that's when I'm most interested—not only   result.
      work. I think I have been influenced most by   the conquest of outer space but the conquest   LIJN: I work a lot from drawings. I begin all
      nature, by things I see around me in the   of inner space as well — the inner and the outer—  my works from drawings. They grow and they
     streets—in the sky. I think that what the   and I think that they are incredibly close—  develop. First I made wall panels, light panels,
     artists have done is 'inspire' me. But I can't   or perhaps they are at the same distance from   and then they developed into the discs. Once
     say that I took any definite line from any one   us. By the inner I don't necessarily mean some   I had developed the  Liquid reflections  to a
     artist and followed it.                    sort of mysterious spiritual world that nobody    point where I felt that it was already growing
   35   36   37   38   39   40   41   42   43   44   45